Premiere of this production: 13 December 2012, Mikhailovsky theatre, St. Petersburg, Russia

Nacho Duato has staged his own version of the celebrated ballet Romeo and Juliet because he is convinced that „Sergey Prokofiev’s score is the most amazing thing that has ever been created for the ballet stage“. The choreographer follows the music, with every image, every moment expressed in dance. The dramatic story of two lovers unfolds against a background of life in an Italian city where nothing stands still, not even for a moment. Lyric scenes alternate with depictions of street festivities in a commedia dell’arte style, rudely interrupted by the skirmishes between the warring clans. In Duato’s production, the set design is by Jaffar Chalabi, the lighting by Brad Fields, and the costumes by Angelina Atlagić.

Libretto by Nacho Duato after William Shakespeare

The Mikhailovsky Theatre is preparing for the premiere of Nacho Duato’s ballet ‘Romeo and Juliet’ set to the music of Sergey Prokofiev. In this production the choreographer is once more working with Angelina Atlagic, an artist from Serbia, who delighted the audience in St. Petersburg with exquisite costumes for ‘Sleeping Beauty’. Angelina Atlagic has told us about the new plans of their artistic union:

Costumes for ballets, especially those whose libretto is based on the masterpieces of classical literature, are a huge challenge for a costume designer. With Nacho, this challenge is even bigger, as it is necessary to follow his precise, almost geometrical choreography which does not allow for unnecessary details. We decided to stick to the time in which Shakespeare set his drama, which is Verona in the 15th century — so that was my starting point too. I found the inspiration in Italian paintings, but the basis for my costumes I derived from Nacho’s choreography and Prokofiev’s music. The costumes are historical but re-created in a contemporary way, made from very light materials such as silk muslin, satin, velvet. The shapes are simple with details that are reminiscent of embroidery and decorations from the early Renaissance.

In Nacho’s version of Romeo and Juliet the two warring families belong to different social classes - for the poorer Montagues I found the inspiration in ‘street fashion’ whereas for the Capulets it was in ‘haute couture’. In the ball scene the ladies are dressed in evening gowns which are reminiscent of the Renaissance in colour and ornament. Following the plot of the libretto I vary the spectrum of colours and the weight of the fabric, going from fair colours and light, airy fabrics at the beginning towards all the darker and heavier ones which lead us to a tragic end. Juliet’s costume is at odds with all the other costumes from the very start, she is full of light, white as a dove; she is a symbol of innocence as well as faithfulness, someone who rejects the societal norms and who is brave enough to withstand them even if it costs her her life.

The tragic love story of Romeo and Juliet serves as a timeless reminder that man was not made for hostility and malice. Shakespeare’s story is especially forceful and piercing in this ballet; thanks to Sergey Prokofiev’s brilliant music, it has been staged in the world’s leading theatres for the past 75 years. There are numerous choreographic versions of the ballet, two of which have been staged by the Mikhailovsky. Nacho Duato has staged the ballet before, but now he is preparing a completely new production.

The tragedy by Shakespeare written in 1595 have inspired many musicians — starting from Hector Berlioz and Charles Gounod to Pyotr Tchaikovsky. Sergey Prokofiev turned to the plot after his returning from abroad in 1933. In creating the libretto he cooperated not only with Sergey Radlov but also with an outstanding critic, theatre historian and playwright Adrian Piotrovsky. In 1936, the ballet was presented to the Bolshoi Theatre in Moscow that commissioned the work. Prokofiev provided the original version of the ballet with a happy ending. The direction of the Bolshoi Theatre approved the music but the radical change of the Shakespeare’s plot triggered hot discussions. The argument made the authors of the ballet revise their concept. Finally, the agreed with the reproaches in distorting the Shakespeare’s original and composed the tragic ending. The revised ballet presented to the Bolshoi Theatre dissatisfied the direction. The music was considered undanceable; the contract with Prokofiev was canceled. Premiere of the ballet Romeo and Juliet took place on December 30, 1938 in Brno. It was choreographed by Ivo Psota, a ballet dancer, a teacher and ballet master, born in Kiev. The fact that a librettist, Adrian Piotrovsky, had become a victim of political repressions prevented the ballet from being staged in Russia. The name of Piotrovsky was taken away from all the documents. Ballet master Leonid Lavrovsky became a co-author of the libretto. The first night took place on January 11, 1940 and the first ballet Juliet, Galina Ulanova, charmed both the public and choreographers and became the ideal performer of the role. The staging received international recognition. Ballet dancers got used to the music. Shakespeare’s characters and Prokofiev’s music enchanted many famous ballet masters. The new versions of the masterpiece expressed Prokofiev’s music in a new way, more coherent to new times. The repertory of the Mikhailovsky Theatre has had the ballet since 1976: first choreographed by Oleg Vinogradov and then, till 2007, choreographed by Nikolay Boyarchikov. Now the public has a possibility to see the new production by Oleg Vinogradov.

Synopsis

Act I

The market place, Verona. Romeo, son of Montague, tries unsuccessfully to declare his love for Rosaline and is consoled by his friends Mercutio and Benvolio. As day breaks and the townspeople meet in the market, a quarrel develops between Tybalt, a nephew of Capulet, and Romeo and his friends. The Capulets and Montagues are sworn enemies, and a fight soon begins. The Prince of Verona commands the families to end their feud.Juliet’s anteroom in the Capulet house. Juliet, playing with her nurse, is interrupted by her parents, Lord and Lady Capulet. They present her to Paris, a wealthy young nobleman who has asked for her hand in marriage. The Ballroom. Romeo and his friends arrive at the height of the festivities. The guests watch Juliet dance; Mercutio, seeing that Romeo is entranced by her, decides to distract attention from him. Tybalt recognizes Romeo. Juliet’s balcony. Unable to sleep, Juliet comes out onto her balcony and is thinking of Romeo, when suddenly he appears in the garden. They confess their love for each other.

Act II

The market place. Romeo can think only of Juliet, and, as a wedding procession passes, he dreams of the day when he will marry her. In the meantime, Juliet’s nurse pushes her way through the crowds in search of Romeo to give him a letter from Juliet. He reads that Juliet has consented to be his wife. The chapel. The lovers are secretly married by Friar Laurence, who hopes that their union will end the strife between the Montagues and Capulets. The market place. Interrupting the revelry, Tybalt fights with Mercutio and kills him. Romeo avenges the death of his friend and is exiled. The bedroom. At dawn the next morning, the household is stirring, and Romeo must go. He embraces Juliet and leaves as her parents enter with Paris. Juliet refuses to marry Paris, and, hurt by her rebuff, he leaves. Juliet’s parents are angry and threaten to disown her. Juliet rushes to see Friar Laurence. The bedroom. That evening, Juliet agrees to marry Paris, but the next morning, when the Nurse finds her apparently lifeless on the bed. The Capulet family crypt. Romeo returns to Verona stunned by grief at the news of Juliet’s death. He enters the crypt and, finding Paris by Juliet’s body, kills him. Believing Juliet to be dead, Romeo drinks a vial of poison. Juliet awakes and, finding Romeo dead, stabs herself.